Marian Goodman Gallery, New York Acquired from the above by the present owner
Exhibited
Berlin, me Collectors Room, Gerhard Richter. Editionen 1965 -2011, 12 February - 13 May 2012 (another example exhibited) Dusseldorf, Kunstsammlung Nordrhein-Westfalen, Gerhard Richter - Die Kunst im Plural, 15 February - 9 March 2014 (another example exhibited)
Literature
Hubertus Butin, Stefan Gronert and Thomas Olbricht, eds., Gerhard Richter Editions 1965 - 2013, Ostfildern, 2014, no. 130, p. 301 (another example illustrated)
Powerhouse painter Gerhard Richter has been a key player in defining the formal and ideological agenda for painting in contemporary art. His instantaneously recognizable canvases literally and figuratively blur the lines of representation and abstraction. Uninterested in classification, Richter skates between unorthodoxy and realism, much to the delight of institutions and the market alike.
Richter's color palette of potent hues is all substance and "no style," in the artist's own words. From career start in 1962, Richter developed both his photorealist and abstracted languages side-by-side, producing voraciously and evolving his artistic style in short intervals. Richter's illusory paintings find themselves on the walls of the world's most revered museums—for instance, London’s Tate Modern displays the Cage (1) – (6), 2006 paintings that were named after experimental composer John Cage and that inspired the balletic 'Rambert Event' hosted by Phillips Berkeley Square in 2016.
signed, numbered and dated '11/32 Richter 2005' lower edge offset print image 130.2 x 109.9 cm (51 1/4 x 43 1/4 in.) sheet 155.3 x 130.2 cm (61 1/8 x 51 1/4 in.) Executed in 2005, this work is number 11 from an edition of 32.